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When I use the principles of Yanagi Hara Ryu and I combine them with the "machine gun style" that Edmund Parker used, you really need to have a trained uke or he will get damaged quite easily.

In this video, Bill is not a trained Kenpo karateka so I intentionally remained in what Edmund Parker would have called the mechanical state and the fluid state. To go into the gaseous state (where you internally implode before you explode) would have just been too dangerous. The gaseous state is where your internal space (inside your body) opens and closes, or rather implodes and explodes as the technique is executed.

Every time I parry, block or strike, I am taking stability and balance. Double factor blocking with "frictional guidance" keeps the person off-balance by the use of structure and positioning. Parries and strikes literally follow the old formula of "suck-in- spit out" like the Chinese talk about.

Uke literally is falling into many of my "flow patterns" through the use of aikijujitsu-like connections and body manipulations. If Aiki and Kenpo are fused, Kenpo techniques are not theoretical anymore and you simply cannot "punk" tori by resisting it, unless your structure is better than his. If you strike nerve points that create autonomic reactions, even better, but I am intentionally not doing this, I am just using heavy hands, Kuzushi and body positioning to make the flow work.

Joe Arriola talks about percussion. This is one version of percussion. He also talks about sticking as in push hands. For me, push hands builds the skill to stick and connect. But you often have to release (even if minimally) in order to go percussive.

The key to success when you break the sticky connection is to

(1) set uke into a path of action that he cannot recuperate from,
(2) place your body where you have angles of cancellation (where he cannot hit you intentionally or by accident), and then
(3) "reclaim the stickiness after you go percussive.

Kenpo is built from the movements of the tiger and the crane. While it is not the most pretty or subtle fighting art, it is quite powerful and effective if you allow your flows to contain the following Kenpo principles:

Paths of Action
Karamie
Frictional Guidance
Heaviness
Body Manipulation
Angles of Cancellation
Flow Patterns and Grafting of Different Flow Patterns
Uses of Hammers, Whips, Thrusts and Lifts as Either Major or Minor Motions
How to use rythm (like the music of Edmund Parker's Ukelele) to pace your major and minor motions rather than using speed only.

... To go into the gaseous state (where you internally implode before you explode) would have just been too dangerous. The gaseous state is where your internal space (inside your body) opens and closes, or rather implodes and explodes as the technique is executed.

You have expanded my metaphorical knowledge..."the water hits the sides and returns".

Yes yes...we strike the drum and it vibrates back into the drummer.

My student Melacio Magdaluyo, is a well known latin jazz saxophonist, pianist and conga drummer in the Bay Area. (He has played with Huey Lewis, Areatha Franklin, Stevie Wonder, etc etc. He learned much of his Conga technique in Cuba and in fact was spiritual made a "congero".) Few know him as a martial artist. But, certainly he has applied concept and spirituality learned from martial art to his music.

One day, while observing Sheila E, Prince's drummer, he told her you must change your "hard structure" if you want to last while drumming". He explained, that her strong stance was hurting her as she unknowingly "absorbed" the backblow of the vibrating drums.

Most, do not understand that what you "push out" will unknowlingly strike back to the striker. In simplistic terms, you strike with your fist and the surface of the target damages your knuckles. You must always think of defense...especially when you are attacking.

Well,
I suspect we are moving into some real ecumenism and wikinomic collaboration now.

Two questions:

Could it be that your idea of the percussive drum (which returns energy quickly because of the tightness of the drum skin) be your experience because you are primarily a pugilist?

(1) I am primarily a grappler these days. Good grappling is like being an anaconda, you do not go faster that the opponent. You just blend and fill the gaps they make in a deliberate and relaxed manner, thus my imagry of the wave and pool is a slower energy.

(2) If the forces of nature (my five big brothers) are doing their thing, what determines the speed? Can I regulate the speed with how soft or tight I make the fluids inside of me?

I attempt to be water. Water can be "solid" (striking), "liquid" (transitioning from joint technique, to grappling and to pressure points, and of course, water can become gaseous (unseen, wispful and ungraspable). It is at the unseen level that the adept accomplishes without being witnessed.

If we were talking in terms of structure, it is the ability to slowly change from "formlessness" to the "form" of appropriate nature. In simplistic terms, "if you are fighting a puncher...kick. If you are fighting a boxer...grapple. If you are fighting a grappler...be ungraspable.

I attempt to be water. Water can be "solid" (striking), "liquid" (transitioning from joint technique, to grappling and to pressure points, and of course, water can become gaseous (unseen, wispful and ungraspable). It is at the unseen level that the adept accomplishes without being witnessed.

If we were talking in terms of structure, it is the ability to slowly change from "formlessness" to the "form" of appropriate nature. In simplistic terms, "if you are fighting a puncher...kick. If you are fighting a boxer...grapple. If you are fighting a grappler...be ungraspable.

Sincerely
Joseph T. Oliva Arriola

I am in total agreement in terms of strategy. Never fight the other guy's fight. Always shape shift. Ect.

In terms of the physics of the "rebounding energy" that happens inside the body and that goes beyond the "middle way" of physically making jin happen, I would like to explore your thoughts.

You see, i have never thought much about "bouncing" people into the air. I have primarily focussed on using the energy to destabiltze the and make them fall, preferably while I am sticking to them like water. To me, this takes a slower type of rebound so the guy doesn't get away from my stickyness, my "push hands" if you will. Here is how I have been using it as an Aiki function.